🔗 Share this article The fashion icon Edward Enninful on Modern Britain: 'Britain Feels Less Tolerant Now' Than We Were Decades Ago. A chance encounter on the London Underground in 1988 changed forever the course of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the city's vibrant 1990s creative scene, moving from model to stylist and, before turning twenty, becoming the fashion director of the publication i-D. "That time was the height of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all hung out across disciplines. Friday bled into Saturday into Sunday. I yearn for that energy." Although Enninful appears sentimental, he is in good company. Lately, a fond idealisation of the 1990s has grown intense. However over the last thirty years, Enninful perceives a noticeable regression. "I feel, we’re more divided now than we were in the 90s," he observes. "This isn't just this country – it’s worldwide." A Perceived Regression This regression is hard to ignore: the growth of far-right politics, the backlash against social awareness, and the return of traditional beauty standards. Where once there was the optimism of the Blair era, now a more divisive political figure looms as a possible leader. Furthermore, the Union Jack, once an badge of Cool Britannia, has sparked debate once more. For Enninful, the response has consistently been to celebrate culture in all its diversity. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a diverse array of influential figures from literature. "Individuals with a platform should employ it," he comments, discussing those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain were not a welcoming country, if it did not offer my family a home and an education. That’s the Britain I cherished. I believe this phase will end." A New Wave of Consciousness He takes comfort in the younger generation: "They’re much more aware than we were. They discuss implicit prejudice – I didn't even know what that was." Those early experiences would forge a trailblazing career marked by fearlessness and inclusivity. Enninful set a precedent as the first man, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His time featured landmark covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and individuals from all walks of life. Critically, sales increased. "To overlook large portions of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he emphasises. Launching a Creative Venture He has established his agency EE72 and its accompanying magazine, 72, his premier initiative since moving on from his previous role. He expresses a desire to continue being a "disruptor". "I constantly interrogate the status quo. I was raised in a place where the majority was Black – the doctors, the lawyers, the leader. Then we arrived in England, with nothing, and I found myself on the margins. I was very shy. My teachers declared I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … this duality gave me a dual identity both an insider and outsider." Defying the caricature of industry figures as brash and temperamental, Enninful is measured in tone and radiates serenity. His journey has involved hardship, including well-documented struggles with depression and addiction. He has also faced serious health issues, having undergone several surgeries on his eyes, now leaving him with limited vision. "I was in such a dark place for two years, not working, fearing I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever passes, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to restrict myself to just being an editor or a figure in fashion." The Tate Britain Exhibition This refusal to be defined narrowly has propelled him beyond the industry that established him. He is now organising a major 1990s exhibition at Tate Britain, featuring work by a host of defining artists and photographers from the era. The show, he says, aims to capture the decade's creative cross-pollination – and spotlight those who lacked adequate attention at the time. "The establishment didn't always shine a light on the right artists because they lacked the right pedigree," he observes. The magazine 72 itself functions with a novel business model, eschewing traditional advertising in favour of creative collaborations. "The question is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is part of a greater ecosystem." Looking Forward Without Fear Today, Enninful stands as one of the world's most respected cultural influencers. His path, he states, is a testament to the power of defying expectations. How would the Edward of the 90s think of the man he has become? He laughs heartily. "He would be astonished, but he’d be impressed. In those days I was anti-establishment. I didn't think institutions like Tate were within my reach." He pauses. "I never take anything for granted. We lost our home, we fled our country. I came close to losing my vision. So fear is not a factor. People have counted me out my entire life. But no obstacle is too great once I’ve made up my mind to do something."
A chance encounter on the London Underground in 1988 changed forever the course of a young Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the city's vibrant 1990s creative scene, moving from model to stylist and, before turning twenty, becoming the fashion director of the publication i-D. "That time was the height of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I understood we’d be great friends. We all hung out across disciplines. Friday bled into Saturday into Sunday. I yearn for that energy." Although Enninful appears sentimental, he is in good company. Lately, a fond idealisation of the 1990s has grown intense. However over the last thirty years, Enninful perceives a noticeable regression. "I feel, we’re more divided now than we were in the 90s," he observes. "This isn't just this country – it’s worldwide." A Perceived Regression This regression is hard to ignore: the growth of far-right politics, the backlash against social awareness, and the return of traditional beauty standards. Where once there was the optimism of the Blair era, now a more divisive political figure looms as a possible leader. Furthermore, the Union Jack, once an badge of Cool Britannia, has sparked debate once more. For Enninful, the response has consistently been to celebrate culture in all its diversity. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, showcasing a diverse array of influential figures from literature. "Individuals with a platform should employ it," he comments, discussing those editorial decisions. "There is much discussion about immigration; I wouldn't be here if Britain were not a welcoming country, if it did not offer my family a home and an education. That’s the Britain I cherished. I believe this phase will end." A New Wave of Consciousness He takes comfort in the younger generation: "They’re much more aware than we were. They discuss implicit prejudice – I didn't even know what that was." Those early experiences would forge a trailblazing career marked by fearlessness and inclusivity. Enninful set a precedent as the first man, first black man, first gay man, and first disabled gay man of colour to lead at British Vogue. His time featured landmark covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and individuals from all walks of life. Critically, sales increased. "To overlook large portions of the population, it’s more than that you’re not being inclusive – it’s commercially unwise," he emphasises. Launching a Creative Venture He has established his agency EE72 and its accompanying magazine, 72, his premier initiative since moving on from his previous role. He expresses a desire to continue being a "disruptor". "I constantly interrogate the status quo. I was raised in a place where the majority was Black – the doctors, the lawyers, the leader. Then we arrived in England, with nothing, and I found myself on the margins. I was very shy. My teachers declared I’d never amount to anything. Me and my brothers were subject to police stops the Sus laws … this duality gave me a dual identity both an insider and outsider." Defying the caricature of industry figures as brash and temperamental, Enninful is measured in tone and radiates serenity. His journey has involved hardship, including well-documented struggles with depression and addiction. He has also faced serious health issues, having undergone several surgeries on his eyes, now leaving him with limited vision. "I was in such a dark place for two years, not working, fearing I was going to go blind. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever passes, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to restrict myself to just being an editor or a figure in fashion." The Tate Britain Exhibition This refusal to be defined narrowly has propelled him beyond the industry that established him. He is now organising a major 1990s exhibition at Tate Britain, featuring work by a host of defining artists and photographers from the era. The show, he says, aims to capture the decade's creative cross-pollination – and spotlight those who lacked adequate attention at the time. "The establishment didn't always shine a light on the right artists because they lacked the right pedigree," he observes. The magazine 72 itself functions with a novel business model, eschewing traditional advertising in favour of creative collaborations. "The question is, what can we achieve in partnership? Is it an experience, a podcast? The magazine is part of a greater ecosystem." Looking Forward Without Fear Today, Enninful stands as one of the world's most respected cultural influencers. His path, he states, is a testament to the power of defying expectations. How would the Edward of the 90s think of the man he has become? He laughs heartily. "He would be astonished, but he’d be impressed. In those days I was anti-establishment. I didn't think institutions like Tate were within my reach." He pauses. "I never take anything for granted. We lost our home, we fled our country. I came close to losing my vision. So fear is not a factor. People have counted me out my entire life. But no obstacle is too great once I’ve made up my mind to do something."